Design Grade 12 IEB Paper 1 2018 Question Paper

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE EXAMINATION NOVEMBER 2018 DESIGN: PAPER I EXAMINATION NUMBER Time: 3 hours 100 marks PLEASE READ THE FOLLOWING INSTRUCTIONS CAREFULLY 1. This question paper consists of 24 pages and a Colour Addendum of 4 pages (i–iv). Please make sure that your question paper is complete. 2. Write your examination number in the blocks provided above. 3. This paper consists of three sections: SECTION A Design Literacy – Language of Design 30 marks SECTION B Design in Context – Historical 30 marks SECTION C Design in Context – Contemporary 40 marks 4. Read through the paper carefully before answering any questions. 5. There are choices within some questions in this paper. Read your options carefully. 6. Ensure that you follow the instructions given in the questions. 7. Answer on this paper in the spaces provided. 8. Use the mark allocation to determine the time spent on each question. One mark is awarded for each substantiated fact. 9. Do NOT repeat the same facts and examples for different questions OR use the examples presented in the question as part of your answers unless specifically asked to do so. 10. Underline the names of designers and their works in Sections B and C. 11. It is in your best interest to write legibly and to present your work neatly. IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 2 of 24 SECTION A DESIGN LITERACY – LANGUAGE OF DESIGN QUESTION 1 THE PROCESS OF DESIGN 1.1 As a Youser-centered designer, which type of design process model would be best suited to your design process? (1) 1.2 Give TWO reasons for your answer in Question 1.1. (2) 1.3 In your opinion, which ONE of the five phases in the design process would be the most important to a Youser-centered designer? (1) 1.4 Substantiate your answer in Question 1.3. (1) [5] IEB Copyright © 2018

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 3 of 24 QUESTION 2 DESIGN COMMUNICATION 2.1 Refer to IMAGE A on the Colour Addendum sheet and read the extract regarding Strellson's campaign below. As a brand, Strellson is forging a new path in men's fashion. For the first time, the company is opting for a purely digital media strategy, and employing an unusual campaign concept for the fashion sector – a music video. It tells the story of a man in Strellson attire negotiating his way through a fantasy world with charming self-assurance and unwavering determination. The film communicates Strellson's desire to inspire men through its authentic fashions to go with their own intuition and not let anything stand in their way. [Source: <http://www.serviceplan.com/en/news-detailed/strellson-make-yourself-unstoppable- freddie-mercury-mnek-serviceplan-en.html>] 2.1.1 Identify a possible stereotype depicted in Image A. (1) 2.1.2 How does this stereotype communicate the message of the campaign? (1) 2.1.3 Name the symbolic language, other than visual metaphor, used in the campaign. (1) 2.1.4 Explain how symbolic language is used to communicate the message of the campaign. (2) IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 4 of 24 2.2 Refer to IMAGE B on the Colour Addendum sheet and answer the questions that follow. 2.2.1 Identify the style of typography used in the Absolut Vodka advertisement, explaining why this choice is successful. (2) 2.2.2 Identify and explain the visual metaphor that is used in the Absolut Vodka advertisement to communicate the contemporary digital experience through the interactive site. (2) [9] IEB Copyright © 2018

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 5 of 24 QUESTION 3 VISUAL ANALYSIS Refer to IMAGES C and D on the Colour Addendum sheet and answer the questions that follow. Analyse the design, making sure you discuss the actual design and not the photograph per se. 3.1 With reference to Image C, identify and analyse THREE design principles that work with each of the given design elements by filling in the table below. (You may only use a design principle once. You may not refer to any examples given in the question paper.) Design Elements: Identify and analyse THREE Design Principles: Example: Colour: the metallic neutral hues 3.1 Example: Gradation . The and transparent glass create an gradation of the transparent glass, industrialised aesthetic. juxtaposed with the metallic structure creates transparency beyond structural boundaries.  Element: Line 3.1.1 Principle: (1) The gentle, shallow curves created by the spiral lines of the walking ramp on Analysis: the interior of the building seem suspended within the geometric linear framework of the exterior. (1) IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 6 of 24 Element: Form 3.1.2 Principle: (1) The hemispherical structure is made up of geometric forms. The building is 3 Analysis: dimensional in nature and a man-made inorganic structure that is abstract in nature. (1) Element: Texture 3.1.3 Principle: (1) The appearance of the glass panels on the outside of the structure communicates the Analysis: smooth texture of the structure. (1) IEB Copyright © 2018

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 7 of 24 3.2 Identify and explain the working of ONE Gestalt principle in Image D (LifeWtr). (2) [8] IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 8 of 24 QUESTION 4 DESIGN IN A BUSINESS CONTEXT Refer to IMAGES E – I on the Colour Addendum sheet and the extract below, to answer the questions that follow. The clothes and footwear company, Adidas, use skimmed pricing and competitive pricing. They do this, keeping in mind their competition, Nike, Puma and Reebok. Adidas' target market is the upper middle class as well as high-end customers. They sell their products in retail outlets, brand showrooms and online. Adidas believes in a responsible approach to design, collaborating with Parley, to prevent plastic entering the ocean by creating high performance sportswear from recycled plastic. Their miAdidas range is a favourite among consumers allowing them to design their own shoes and apparel in the online store. Boost is another initiative allowing customers to view and test the latest products revolving around Boost technology, in pop-up venues. [Source: <https://www.marketing91.com> Marketing mix articles] 4.1 How does Adidas make use of guerrilla marketing to promote an experience economy? Clearly define BOTH terms in your answer. (2) 4.2 Define the term mass customisation. (1) 4.3 How does Adidas use mass customisation to promote Youser-centered design? (1) IEB Copyright © 2018

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 9 of 24 4.4 Explain the concept of collaboration in design by giving a definition for the term. (1) 4.5 Adidas collaborated with Parley on the product in Image F. Why do you believe this collaboration is a responsible approach to design? (1) 4.6 What is a brand ambassador? (1) 4.7 How does Adidas employ brand ambassadors in their promotion campaigns? (1) [8] 30 marks IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 10 of 24 SECTION B DESIGN IN CONTEXT – HISTORICAL QUESTION 5 Answer Question 5 in essay format. Three and a half pages is the suggested length of your essay, depending on your handwriting. Establish your viewpoint in the introduction and continue to address the question directly throughout your essay. Underline the names of designers and designs. The essay will be assessed according to the following rubric: SECTION B Question 5: Design in a Historical Context Logical flow of introduction, body, conclusion Structure (S) Introduction/Conclusion Length 2 0 1 0 1 Appropriate contextual relevance to the answer. 7 marks max: • Contextual Characteristics of movement • Thematic Context related to the question Context (C) Anti-Design, Hi-Tech, Memphis, Postmodernism, Deconstruction Movement (1) Movement (2) Movement (3) 7 0 1 0 1 0 1 2 3/max 2 3/max 2 3/max Names of Designers and Designs: Content/ • 3 marks max: name of the Designers (correctly spelt) Facts • 6 marks max: 2 names of works/designs (correctly spelt (F) and underlined) Movement (1) Movement (2) Movement (3) Designer 0 1 0 1 0 1 9 Designs 1 2 1 2 1 2 Detailed discussion of strategic works with regards to influences and characteristics applied to design examples. • Specific visual literacy observations and application of characteristics of the movement/statement/context to designs Analysis • 3 marks max per design: at least one work discussed in (V) detail per designer (2 designs per designer) • 9 marks max Movement (1) Movement (2) Movement (3) 0 1 0 1 0 1 9 2 3 2 3 2 3 Relevant use and level of "design-speak" – superior terms Terminology (T) underlined with bracketed definition 1 2 3 3 TOTAL 30 IEB Copyright © 2018

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 11 of 24 Theme: Rise of cultural identity STATEMENT Youser-centered design has been used as a design strategy throughout history to develop an understanding and visualisation of culture. In your introductory paragraph, agree or disagree with the given statement by discussing how Youser-centered design changed the expression of our cultural identity. Consider the work of at least THREE pertinent designers (each from different movements from 1970 to the early part of the 21st century) and TWO works by each of your chosen designers. IEB Copyright © 2018 PLEASE TURN OVER

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Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 16 of 24 SECTION C DESIGN IN CONTEXT – CONTEMPORARY Answer TWO questions from this section. Do not repeat the same information in different answers. Underline the names of designers and titles of designs. Format all answers in paragraph format. Rubric applicable to Questions 6.4, 7.4 and 8.4 Definition Local International Total N Name of designers - 1 1 2 F Titles and brief description of works - 1 1 2 V Discussion of work/analysis of design - 4 1 2 1 2 R Definition/relevant argument 1 4 max max QUESTION 6 DESIGN IN AN ENVIRONMENTAL CONTEXT 6.1 How does hedonistic sustainability change the concept of sustainability to be more Youser-centered? Use a discussion of ONE relevant design example as substantiation. (2) 6.2 Discuss ONE design that promotes mutualism through a responsive design approach. Clearly define BOTH terms in your discussion of a relevant design example. (3) IEB Copyright © 2018

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 17 of 24 6.3 Explain how D4L can assist the product life-cycle of products to be more Youser-centered by: • Defining BOTH terms • Providing AND discussing a relevant design example (3) 6.4 Biophilic design has changed the connection society has to their environment. Discuss how designers employ biophilic design to create more Youser-centered environments. 6.4.1 Name TWO designers (ONE local and ONE international) who employ biophilic design to create a more Youser-centered environment. (2) 6.4.2 Name and describe ONE design by each chosen designer to support your stance. (2) IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 18 of 24 6.4.3 Write a visual analysis on ONE of your selected designs (make clear which design you are analysing). (4) 6.4.4 Briefly explain how EACH of the designs (Question 6.4.2) strengthens the concept of Youser-centered design through biophilic design. Make clear the definition of biophilic design in your discussion. (4) [20] AND/OR IEB Copyright © 2018

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 19 of 24 QUESTION 7 DESIGN IN A SOCIAL CONTEXT 7.1 Wayfinding has changed the experience that society has with the built environment. Discuss how ONE designer has employed wayfinding to create more Youser-centered experiences. (2) 7.2 Explain how social regeneration can assist designers to create human- centered designs. In your answer make clear the definition of BOTH terms and substantiate your answer by referring to ONE design case study. (3) 7.3 Briefly explain how design for extreme affordability can promote equitable access to users by answering the following: • Define BOTH terms • Provide AND discuss a relevant design example (3) IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 20 of 24 7.4 Every person justifiably has the right to be educated; however, due to a number of constraints, children and adults are not always able to access the information taught to them. 7.4.1 Name TWO designers (ONE Local and ONE International) who have made education possible through their designs. (2) 7.4.2 Name and describe ONE design by each chosen designer to support your stance. (2) 7.4.3 Write a visual analysis on ONE of your selected designs (make clear which design you are analysing). (4) IEB Copyright © 2018

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 21 of 24 7.4.4 Briefly explain how each of the designs (Question 7.4.2) strengthens the concept of access and inclusivity through education. Clearly define the term access and inclusivity in your discussion. (4) [20] AND/OR IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 22 of 24 QUESTION 8 DESIGN IN A CULTURAL CONTEXT 8.1 In today's society people tend to be more conscious of their heritage. Briefly explain how cultural resonance can be created in design. Provide ONE case study in support of your answer. (2) 8.2 Explain how globalisation has supported the development of cultural hybridity in our society today. In your answer clearly define BOTH terms and substantiate your answer by referring to ONE design case study. (3) IEB Copyright © 2018

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 23 of 24 8.3 Briefly explain how designers can employ homage to strengthen an empathetic design solution, which would manipulate consumers to buy a product by: • Defining BOTH terms • Providing AND discussing a relevant design example (3) 8.4 Consumption culture has changed over the past few years. The concept of Youser-centered design can be strengthened through designers who are re-defining consumption culture. 8.4.1 Name TWO designers (ONE Local and ONE International) who support a consumption culture. (2) 8.4.2 Name and describe ONE design by each chosen designer to support your stance. (2) IEB Copyright © 2018 PLEASE TURN OVER

Downloaded from hlayiso.com NATIONAL SENIOR CERTIFICATE: DESIGN: PAPER I Page 24 of 24 8.4.3 Write a visual analysis on ONE of your selected designs (make clear which design you are analysing). (4) 8.4.4 Briefly explain how each of the designs (Question 8.4.2) strengthens the concept of Youser-centered design through consumption culture. Clearly define the term consumption culture in your discussion. (4) [20] 40 marks Total: 100 marks IEB Copyright © 2018